Saturday October 15th 2022
Online Catalogue XXV
October issue
WHO WE ARE The Asian Art Society features an online catalogue every month listing quality works of Asian art that have been thoroughly vetted by our select members, who are the in-house experts. By bringing together a group of trusted dealers specializing in Asian art, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee of influential gallerists /AsianArtSociety
Cover Image: detail of a painting presented by Alan Kennedy on p.76
Table of Contents INTERVIEW
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CATALOGUE JAPAN INDIA SOUTHEAST ASIA CHINA HIMALAYA
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Kitsune -fox priestnetsuke 19th century Signed Wakyosai.
David Thatcher David Thatcher is specialising in fine Japanese arms & armour dating from the 15th to 19th century. With over 35 years of experience in the field, he provides procurement and consultancy services for leading collections, museums and auction houses and regularly exhibit at London galleries and fairs. Contact: +44 (0) 7971955214 dt@davidthatcher.co.uk www.davidthatcher.co.uk
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How did you gain expertise in Japanese arms and armors ? My first introduction to samurai armour was at the age of eight. Living in London, my primary school had arranged an outing to the Geffrye museum located in Shoreditch just off the Bethnal Green Road. Back in the seventies, the museum held a diverse collection of items ranging from vintage toys to Victorian clothing. Japanese armour back then had fallen slightly out of favour with the public eye due to the aftermath of World War Two. Therefore the Geffrye became the secondary host for the Victoria & Albert Museum Samurai Gallery. I can still recall gazing upon an armour, being magnetised by its terrifying, majesty and alien appearance compared to the European knight. This imagery of the samurai would stay with me forever. By luck, my aunt lived nearby in Stepney. Each Saturday, my mother would visit her so that they could commence their regular crawl of the famous Roman Road market. Their compulsion to visit every clothes shop and stall granted me the excuse to avoid dying of boredom and wander off to see the Geffye. Over the years, I became increasingly interested in the samurai, their fighting arts and of course, their armour. I would gaze at the armours for hours upon end. During my twenties, I had acquired two full suits, both of which were in a terrible state of the preserve. I attempted to repair and repaint them using boot lacings, modelling putty and enamel paints. The result was pretty convincing for the viewer. Still, looking back on what I know today, I feel somewhat guilty about my level of incompetence and naivety in my cosmetic repairs. Studying Japanese martial arts took me to Japan, where I began to learn the sword arts of iaido and kendo, while in Japan, I was again able to visit many museums and discover new armours to notate. Upon my return to the UK, I needed to find
a dojo to continue my study of swordsmanship. By chance, a local instructor was none other than Jock Hopson, the co-author of Samurai Arms and Armour, written together with Ian Bottomley. Jock naturally introduced me to Ian and his outstanding collection. Ian and Jock, at the time, were restoring some armours from an American collection, and as I lived close to Jock's workshop, I could visit and sit on the sidelines and observe his work, gilding and gilding and minor repairs. Jock was experimenting with urushi and introduced me to his teacher, Miss Miho Kitagawa. I showed an interest in learning about urushi, and Jock gave me a spare tube of black urushi to take away and experiment with. I made a small section of a hand guard (tekko) from some mild steel which I hammered out for hours. Having no idea how to make the ground layers, I mixed up some PVA glue with plaster, and after a month of rubbing down and applying the urushi, I had an example to return with for review. I remember Miss Kitagawa looking at the piece in disbelief; she asked me if I had done this. I explained that I had and exactly how I had applied the urushi, and she seemed very impressed, which boosted my confidence. Due to my willingness to learn, Miss Kitagawa agreed to become my sensei for urushi, and I began my journey toward understanding the traditional arts. I studied the application of urushi for years, learning first how to lacquer bowls and wooden spoons, which proved to be a little off track to armour; nevertheless, I studied as instructed and paid attention to the rules. Miho sensei told me, you learn the traditional way first. After that do what you want. So the notion of suggesting alternatives and shortcuts was very much stamped out. Armour incorporates many different effects created with urushi many of which are no longer applicable to the lacquering of tableware. Old examples are rather unadventurous and mainly black coats. Still, during the Edo period, there was more desire to wear flamboyant and flashy suits that reflected wealth and status over functionality. Based on the Edo period
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writings of Sakakibara Kozan and the many original items I was acquiring, I could alter the traditional techniques making them suitable for armour. Even now, I spend a lot of time experimenting with mixtures,applicationsandtechniquesthatwillmimicthe originals, as examples, variants of tatakinuri stippled effects present on kaga works, others have russet iron effects and so on. Rediscovering such techniques is exciting and rewarding, with no instruction manual to follow. I've worked on many armours over the years, picking up tips and techniques from well-known and established craftspeople. My main work was part-time for friends that had damaged items, but the demand grew; therefore, in 2015, I decided to become a full-time restorer working from a custom-built studio workshop in Northamptonshire. I have been very fortunate to have worked on some precious pieces from such schools as the Myochin, Bamen, Saotome, Nagasone and Haruta. My clientele grew from friends to private collectors, dealers and eventually museums. Learning how to restore Japanese armour for a person not a native or resident in Japan is difficult; there is hardly anything in writing that will aid any form of guidance or instruction on the subject. It requires research and handling of hundreds of items of authentic armour. Most of my understanding of the construction of Japanese armour has come from examining damaged items, where I have been able to pull apart the layers and gain insight into the materials and techniques that were originally used. After a successful career in restoration, I decided to diversify my business and become a dealer. Is there a fake market in your field? Indeed, the market is full of fakes. This is one of the reasons why I became a dealer in that I could assure my clients that what they are buying is authentic. Also, having the eye for restoration allows me to spot any work that may have been untaken, alterations and, in some instances, complete fabrications. COULD YOU DESCRIBE THE SUPERIOR TECHNOLOGY AND FORM USED IN JAPANESE ARMORY ? The samurai were Japan's ruling class; you will never see samurai jewellery, no gold rings, necklaces or crowns.
As kings [shogun] and Lords [Daimyo], they displayed their wealth and status in their armour and weaponry. Armour was extremely expensive. Armour incorporates nearly every aspect of Japanese art, wood, urushi nuri, fine metals and alloys, silks, iron and leathers. An excellent way to imagine the cost of armour is to compare it to the house you live in. The entire process of making and assembling armour is superior, something that has not been replicated in our times to the same standard. It also seems that every ornamentation has a meaning in an armor ? Amour was made for war. It was functional. The armour makers [katchushi] would make a protective suit, and the artisans would embellish them with whatever the owner commissioned. We see many symbolic features incorporating elements from deities. Who is your ideal client? I suppose it is not easy to find a collector for several full suit armors. I prefer to sell to people interested in the subject and appreciate its beauty. I know most big collectors; sometimes, I can locate an item to fill a gap in their collections. But I favour new buyers as I can guide and educate them. That part is fun. Why is Hollywood so obsessed with samurai? Name your three Best Samurai Films of All Time I don't pay too much attention to Hollywood as it tends to warp just about everything. Do I have favourite movies, yes? Kagemusha 1980 - One of the best epics made by Kurosawa. One of my favourite clans was the Takeda, who were wiped out by the Oda forces and the battle of Nagashino. I hold a very small number of armours from the clan and its vassals. Kwaiden 1965 - The tale of Hoichi the earless is a breathtaking shot, the film depicts the sea battle of Dan-no-ura where the Minamoto destroyed the Taira. And, of course, how their ghosts come back to haunt the living. Heaven and Earth 1990 - This movie has one of the most significant battles between two samurai clans. It is spectaular.
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Can you specify some aspects of the warrior’s spiritual dimension you feel are often misunderstood or misrepresented? I feel the greatest misrepresented aspect of the samurai is honour. The samurai were warriors, but the bushido code did not always bind them. If they could kill you fighting as a group, they would. Samurai history is full of double-crosses and treachery. How has the market for arms and armour changed since you are working in this field? What do you see for its future? Japanese armour has seen a significant increase in desirability and value in just a few years. Armours that could have been purchased 10yrs ago at £10,000 are selling today at ten to twenty times the price. In all my years, I have never seen Japanese armour depreciate. With all this knowledge you’re acquiring, what are your future plans? To further establish myself as a dealer of note and gain recognition as one of the worlds leading specialists in this subject. I am incredibly ambitious and am continually improving my dealership. This year I invested heavily in a photographic studio using a Phase One camera system. My website now streams outstanding detailed images for clients to view. I produce all the media in-house, including catalogues and several forthcoming books. I have a private gallery that is currently being expanded. I look forward to attending more fairs and holding further exhibitions in London. My way forward is to improve and satisfy my clients' needs continually.
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OCTOBER ART WORKS
Pieces are published and changed each month. The objects are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts.. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this, the Asian Art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase. Items are presented by categories, please check the table of contents. Feel free to ask the price if the artwork is listed with a price on request.
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01
TACHI-DŌ GUSOKU FULL SUIT OF JAPANESE ARMOUR
Japan Late Momoyama Early-Edo period. 17th century Iron, lacquer, silk, wood, gold Provenance: Private collection in Japan Inventory Number DB006 Exhibition: This full suit will be shown at Asian Art in London 2022 Price on request
Object Presented by: David Thatcher M.: + 44 (0) 7971955214 E.: davidt@davidthatcher.co.uk W: www.davidthatcher.co.uk
Hon kozane maru tachi-dō [wrap-around cuirass made from individual scales] in red lacquer with orange lacing in the kebiki [complex] style. 62 plate koboshi kabuto [protruding rivets] five lame hineno kiritsuke ko zane shikoro [neck guard in mock hon kozane] laced in the kebiki style. Kon urushi nuri ressei men-no-shita menpo [black lacquered face mask] with four lame kiritsuke kon zane suga [throat guard]. Ko-gusoku [other parts] medium size kiritsuke ko zane chu-sode [shoulder guards] of seven lames laced in the kebiki style. The kote [sleeves] are of the oda style featuring iron fittings and chain mail, and the haidate [apron] is constructed of shino [rafts]. Five lame shino-suneate [shin guards] with kikko-gane [hexagonal knee guard]. Supplied with a yoroi-tate [armour display stand] and yoroi-bitsu with [armour travel storage box] with outer black lacquered leather cover with gold mon [crests]. Authenticity: Accompanied by a certificate of registration as Tokubetsu Hozon 特別保存 (Special cultural material) No.23050001 issued by the Kokusai Nihon Katchū Bugu Shinkō Kyōkai 国際日本甲冑武具振興協会 (International Dealers Association for the Appraisal of Japanese Armor)
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02
Hira natsume
Shôhô (b. 1954) Lacquer tea container Japan Price on request
Object Presented by: Kitsune Gallery M.: + 32 476 87 85 69 E.: arie.vos@telenet.be W.: www.kitsunegaroo.com
Lacquer tea container decorated with pine trees by the sea shore with waves splashing against the rocks in takamaki-e and inlaid kirigane on a kinji nuri (gold lacquered) background. The interior richly applied in silver lacquer. This natsume goes by the name “matsushima” (pine tree island) and comes with its tomobako (original signed wooden storage box).
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A MINIATURE SHIKHARA GUARDED BY A PAIR OF MAKARAS AND FEMALE ATTENDANTS Madhya Pradesh, probably Gwalior region, India 10-11th century Sandstone 41,5 cm (h) x 40 cm (w) x 21 cm (D) Provenance: Simon Ray collection, 2008 Bruno Cooper collection Price : 11.000 euros
Object Presented by: Farah Massart M.:+32 495 289 100 E.: art@famarte.be W: www.famarte.com
This sandstone architectural fragment depicts a miniature North Indian temple tower or Shikhara. Two female attendants or possibly river goddesses at each side emerge from the mouth of a pair of makaras. The pink glow in the sandstone suggests the region of Gwalior in the north of Madhya Pradesh as the place of origin. Makaras are mythical aquatic creatures with the body of a crocodile and the trunk of an elephant. They are often seen at the entrance of the temple, and considered by the Hindu’s to be auspicious and purifying by their association with water. The combination of two beautifully jewelled and dressed goddesses issuing from the mouth of two makaras portrays an image of pronounced sensuality, and ensures a protective auspiciousness for the small shrine.
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04 Frieze with musicians Rajasthan or Madhya Pradesh, India 11th century Red sandstone Width : 104 cm Provenance : Sotheby’s auction in New-York, 1985. Price on reques
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
Made of red sandstone, this frieze is decorated with a celestial procession of eleven musicians, and bears witness to the flourishing artistic production in India during the medieval period. A sacred musical scene In full performance, they adopt very stylized poses, which contribute to the dynamism of the representation. Most of them have one knee on the ground, while the other leg is bent perpendicular to the ground. They hold various instruments, including cymbals, horns, flutes and drums. The circular shape of the frieze indicates that this element originally decorated the dome of a religious structure, a space corresponding to the border between the profane and sacred worlds. The sculptors were inspired by a real orchestra to create the representation of a celestial musical procession. Thus, a connivance is created with the faithful since it brings this scene closer to certain events of its daily life. Religious dynamism in medieval India Created in the eleventh century, this work is part of a context of architectural frenzy. Indeed, many Hindu temples and sanctuaries were erected in central India during this period. This phenomenon goes hand in hand with the political fragmentation of this region. Under the impulse of dynasties that shared the power, many architectural complexes were built, before the territory came under the Muslim yoke during the establishment of the Delhi Sultanate. One of the most famous examples of this effervescence is the complex of Khajurâho, known worldwide and where we find the same stylization of forms, the same dynamism of the bodies. Indeed, the sculpture of central India in the medieval period presents a lot of vivacity, while abounding in rich details. The reign of expressiveness The musicians have particularly expressive faces, with stylized and round contours, with large eyes under wide eyelids. They sketch meditative smiles,
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appropriate to their divine status. They are adorned with jewels and ornaments such as stoles and earrings in the shape of a disc, reinforcing the precious side of the representation. The narrative register is delimited by two decorative friezes of deeply incised stylized petals. In the lower part, a fine frieze with chevron motifs closes the representation.
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Illustration to a Ragamala series: Todi Ragini
Provincial Mughal 18th century Opaque watercolor heightened with gold on paper Image: 7 ⅛ x 4 ⅞ in. (18.1 x 12.4 cm.) Folio: 13 x 10 in. (33 x 25.4 cm.) Provenance: Private British collection. Christie’s South Kensington, 1 October 2012, lot 97. Price on request
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com
Ragas are melodies that serve as templates for improvisation within the ancient classification system of Indian music. While each melody has a certain structure, there are infinite songs that can be produced within each mold. Ragamala (or ‘Garland of Melody’) paintings aim to capture each melody’s mood or sentiment into visual forms, which are categorized into thirty-six male and female personifications—ragas and raginis, respectively. Often focused around ‘love in union’ and ‘love in separation,’ each painting is meant to evoke the feeling or color of the melody rather than a specific narrative, and they are often associated with particular seasons, regions, and times of day. The present painting depicts Todi Ragini, which is believed to be a song sung by village girls while guarding the ripening fields against deer. The melody is said to enchant the deer, preventing them from feeding on the village crops (Ebeling, 60). Here, Todi Ragini is depicted as a lonely nayika who plays her veena in the forest, surrounded by deer who listen to her song.Expressing the tender longing of separated lovers, the deer that flock to her serve to underscore the woman’s isolation as she plays her somber tune. The flowing green grass, blooming lotus flowers, and brilliant golden sky are meant to evoke the mood of a spring morning, “as the sun’s rays have lit the earth at dawn,” at which time the Todi Ragini is meant to be played. Compare to another Todi Ragini folio circa 1725 at the Philadelphia Museum of Art (acc. 1977-12-1). References: Ebeling, Klaus, Ragamala Painting, New Delhi, 1973.
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06 Nandi Tamil-Nadu, South India Cōla dynasty 11th-12th century Granite Height: 36 cm Provenance : French private collection before 2000’s Galerie Barrère Price on request
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
Dated to the 11th-12th centuries, this sculpture is part of the productions made under the Cōla rulers, the majority of which are of śivaitan obedience.The traditional mount of the god Śiva, Nandi’s name means “who gives joy”. Both a symbol of virility -embodying the destructive power of the god -and his first devotee, he occupies an important place in śivait iconography. A treatment as realistic as it is ornamental Here, the animal lies on its right side on a small oval base. It is depicted in a very realistic posture, with its legs folded under its body. The hoof of its right front leg is resting on the base in an assertive attitude. Its horns are slightly protruding, in accordance with the iconographic codes attributed to Nandi. Rich details enhance the sculpture, notably the embroidered carpet that covers the animal’s body. Garlands of flowers adorn its neck, while sacred cords join itstwo ears. These elements contribute to the finesse of the sculpture and its ornamental aspect. A refined art The bull’s eyes are wide open and surmounted by pronounced superciliary arches, like the statues of anthropomorphic deities. These features place this work in the aesthetics of the second Cōla period, where the silhouettes are slender, the plastics long and the facial features accentuated. The softly modelled sculptures make Cōla statuary a refined and highly prized art form. A witness to the popularity of the śivaita cult This work has its origins in the cultic context of the Cōla dynasty, whose śivaitan rulers erected numerous temples, notably at Gangaikondacholapuram, Pullamargai and Tanjore. At Tanjore, in the Rajarajeshvara complex, the bull Nandi is housed in a hypostyle pavilion that is an extension of the temple and mandapas. Its position within the complex testifies to its special status, and the specific cultic practices
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that were dedicated to it. Later, a statue of Nandi was erected in front of the Rajendracholeshvara temple, testifying to its ever-growing popularity. This Nandi bull is thus part of the Cōla cultic and architectural tradition, while adopting the Cōla canon, with its recognisable features.
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An illustration to the Ramayana: Rama and Lakshmana
Attributed to Pandit Seu Basohli Circa 1730 Opaque watercolor heightened with gold on paper Image: 8 ¼ x 12 ¼ in. (20.1 x 31.1 cm.) Folio: 8 ½ x 12 ½ in. (21.6 x 31.8 cm.) Provenance: Collection of R. Hale, California, acquired by the family in the 1960s. Price on request
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com
The present painting is attributed to the famous, yet elusive artist, Pandit Seu. The honorific title ‘Pandit’ probably denotes that the family was originally of the Brahamanical order. While it is speculated that he lived from 1680-1740, it is rare to find any dated or signed works by his hand, resulting in a small number of paintings attributed to him. Pandit Seu was working at a time when the fundamentalist Mughal ruler Aurangzeb had disbanded his ateliers, forcing Mughal artists to search for patronage in Rajput kingdoms and simultaneously disburse their style into other regions. As this was happening, Pandit Seu traveled outside of Guler to the plains and made contact with Mughal artists who taught him their painting techniques. He brought these back to Guler and Basohli and is credited with aiding in the shift to a more formal style within the greater Pahari region. In the present portrait of the Ramayana’s protagonists, this Mughal influence is apparent. The figures appear as strong individuals, assuming a space that belongs entirely to them rather than in an overlapping fashion typical of earlier Rajput painting. The face of each figure is unique, with Rama’s low eyes and his voluminous hair fully distinguished from Lakshmana’s clean hairline and downturned nose. Their flowing garments are highlighted by the stark, monochromatic yellow background characteristic of the Pahari tradition. This painting serves as a benchmark for the beginning of an exploration into depth and naturalism in the Pahari region
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A bidri pandan
India, Deccan, Bidar Circa 1800 Alloy composed of zinc, tin, copper inlaid with silver Height: 9,5 Width: 12,5 Depth: 8 cm Price: 3.500 euros
Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
This box is made of bidri, an alloy composed of zinc (for which the extraction was mastered at an early period in India), tin and copper inlaid with silver. The name of that type of object and technique is derived from the city of Bidar, in the Deccani region. Luxurious boxes with compartments like this one, made for the use of betel nut or pan, were very sought after in South Asia. For a closely related example, see: Lal, K. (1990) National Museum Collection - Bidri Ware, Bombay: Tata Press, p. 106, N°119.
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09 Shiva as Tripurantaka, The Destroyer of Tripura Mandi Circa 1750-1780 Opaque watercolor heightened with gold on paper Image: 7 ⅜ x 9 ⅝ in. (18.6 x 24.3 cm.) Folio: 9 x 11 ½ in. (22.9 x 29.2 cm.) Provenance: Royal Mandi Collection. The estate of Carol Summers (1925-2016). Price on request
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com
The narrative illustrated here is that of Shiva as the destroyer of Tripura, the three mythical demon cities in the sky. Tripura was gifted by Brahma to the evil demon Taraka’s three princely sons as reward for undertaking severe penance. These impenetrable fortresses revolved around the sky and could only be destroyed by an arrow that could merge the three cities and set them ablaze. With these boons, the three princes abused their power, wreaking havoc across the universe and taunting the gods. Unable to stand against the princes’ power, the gods begged Shiva for help. In order to defeat Tripura, Shiva crafted his weapons from pieces of the other gods. His chariot, made from the earth, is depicted here, upheld by wheels made from the sun and the moon. Brahma, the Creator, with four heads and four arms, is his charioteer. Shiva’s bow, made from Meru the mountain, is strung with the serpent Vasuki, who can also be seen wrapped around Shiva’s neck. Shiva’s cosmic arrow, which he used to destroy all three cities in a single shot, is made from Vishnu, the Protector, his blue face appearing on the tip of the arrow. Tripura is not depicted as three separate cities, but instead, is personified into demon form. The scaled pattern on the demon’s skin serves to represent the earth, and can also be seen on Shiva’s mountainous bow. Scattered across the demon’s chest and legs are buildings and animals, indications of the floating cities merged into flesh. This sort of representation helps to visualize Shiva’s foe, not simply as three fortresses, but as a formidable enemy. It can also be taken to symbolize Tripura's metaphorical meaning as the three components of man: the physical body, the intellect, and the soul. By destroying Tripura, Shiva is said to have merged the three essential components of man into the supreme consciousness. The reverse of this folio contains Devanagari numerals ‘48’ and bears a stamp and inventory number from the Royal Mandi Collection.
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10 An illustration to the Ramayana: Sita in Ravana’s Palace
Mewar, India Early 18th century Opaque watercolor heightened with gold on paper 22,2 cm x 38,1 cm Provenance: Purchased in the U.S. in 1972 and descended in the Steig family. Price on request
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com
In the present illustration of the Aranyakakanda book of the great Ramayana, the demon King Ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of Rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions. This folio is representative of a playful style associated with the Rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall composition, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point, and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting Rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).
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11 Bird India Mughal Period 17th century Watercolour on paper Miniature: 19 x 9 cm Price: 7.500 euros
Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
For a Mughal animal scene with a similar composition, see: Okada A. & Hurel R., Exhibition Catalogue (Nice, Musée des arts asiatiques - from the 23d November 2002 to the 23rd February 2003) Pouvoir et Désir - Miniatures indiennes du San Diego Museum of Art, Paris:Paris-musées & Suilly-la-Tour: Ed. Findakly, pp. 54-55.
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Gaṇeśa dancing on a lotus flower
Northern India Pala period 11th century Grey stone H: 63,5 cm Provenance: Gantner museum collection Dodier gallery Price on request
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
Gaṇeśa, a particularly venerated god This fragment of decoration, carved in high relief, depicts Gaṇeśa dancing on a lotus flower, above a decorative frieze of small figures. A kneeling devotee is recognisable on the left, and in the centre an animal, whose very fragmentary appearance makes identification complex. Son of Śiva and Pārvatī, this elephant-headed god enjoys great popular fervour, and is venerated in the various streams of Hinduism. He is the one who removes obstacles and contributes to the prosperity of any enterprise. As a gourmet god, his devotees honour him with offerings, especially sweets, which are placed underneath the god’s statues. The benevolence of the god conveyed through iconography Gaṇeśa is shown here with four arms representing the four paths of knowledge according to the Vedas. Ancestral texts that constitute the foundations of both Hinduism and Buddhism, they are certainly at the origin of the mythology surrounding the god Gaṇeśa, particularly concerning his animal form. He holds in his hand the axe, paraśu, which is also one of Śiva’s attributes, systematically present on his representations. This axe is said to remove sorrows and agitations. It also holds the knot, pāśa, which serves to capture error. All these attributes corroborate the benevolent image of the god, ready to answer the prayers of the faithful. A dynamic composition created through pure forms Under the Pala dynasty, whose sovereigns were mainly Buddhist, religious diversity was nonetheless encouraged. Both Buddhist and Hindu temples were decorated with sculptures. Pala art emerged on the model of the Gupta idiom, which had a great posterityin India, and which also spread to China, Japan and Korea. These canons are thus reused to create a separate entity in the Pala period. Here, the sobriety of the forms, the elegance of the movement, are particularly admirable and make this Gaṇeśa a very fine example of Pala art. Despite his stoutness, the god sketches a gesture whose fluidity brings a particular expressiveness to the work. His trunk has a geometrical shape that also contributes to the dynamism of the work,
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and gives it a graphic aspect without equal. The richness of the sculpted details The purity of the body’s forms is complemented by the decorative treatment of the ornaments, in particular the tiara on the god’s head, as well as the necklaces around his neck and the bracelets on his arms. His almost imperceptible clothing reflects the desire of Indian artists to create luminous images, in accordance with a religious requirement mentioned in the texts.
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A SUPERB GOLD BEAD NECKLACE
India Himachal Pradesh 19th century Length: 43,5 cm Weight: 96 grs Price: 12.000 USD
Object Presented by: Sue Ollemans M: + 44 (0) 7775 566 356 E: sue@ollemans.com W: www.ollemans.com
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TWO GOLD AND GLASS NOSERINGS
Central India Medieval Period 12-14th century Length: 2,5 cm Weight: 4 grs Price: 1.200 USD
Object Presented by: Sue Ollemans M: + 44 (0) 7775 566 356 E: sue@ollemans.com W: www.ollemans.com
A near matching pair of nose rings comfortably worn as earrings. Two pieces of blue glass are mounted with granulated gold fittings and fixed by a gold hook to form each nose ring..
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Indian Trade Cloth with "high baroque" motif
India, found in Indonesia 18th century Cotton; mordant red on an indigo ground 229 cm x 112 cm Price: 15.000 USD
Object Presented by: Thomas Murray M: + 1 415.378.0716 E: thomas@tmurrayarts.com W: www.tmurrayarts.com
Baroque patterned textiles were prized in 18th Century Indonesia, from Islamic courts to tribal chiefdoms.
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Belt with Talismanic Inscriptions
Lampung or Palembang, Sumatra, Indonesia 19th / early 20th century Mixed metal buckle, silk, metallic wrapped threads; engraving, couching 116 x 132 cm Provenance: Roger Hollander collection Price: 6.500 USD
Object Presented by: Thomas Murray M: + 1 415.378.0716 E: thomas@tmurrayarts.com W: www.tmurrayarts.com
This belt buckle, worn by a nobleman and commissioned from a court workshop, features inscribed magical lettering that served to protect the wearer from malevolent ghosts, bullets and blades.
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Temple Kamasan Painting
Bali, Indonesia 19th / Early 20th century Cotton, crushed mineral pigments 86 cm x 65 cm Provenance: Fischer collection Price: 8.000 USD
Object Presented by: Thomas Murray M: + 1 415.378.0716 E: thomas@tmurrayarts.com W: www.tmurrayarts.com
The Garuda is a mythic bird of great size and power and serves as the mount of the Hindu deity Vishnu. Known to have stolen waters of the elixir of Life to save his mother, the Garuda is greatly venerated in Bali as brave and with a good heart and yet forever in a battle with his serpent enemies, the Nagas. This relatively large-scale Garuda depiction is particularly rich in iconography, and is painted on both sides of the canvas in an early Kamasan style with crushed mineral pigments. Joseph Fischer wrote extensively on Balinese art and Indonesian textiles.
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A BRONZE YONI
Khmer, Cambodia Angkor Period 12-13th century Height: 12 cm Price:
SOLD
Object Presented by: Sue Ollemans M: + 44 (0) 7775 566 356 E: sue@ollemans.com W: www.ollemans.com
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19
Jade bracelet
China Neolithic period 2500–2000 BCE Width: 8,3 cm Price on request
Object Presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com
A yellow and deep russet jade circular bracelet, the exterior of natural irregular form with bright yellow tones suffused with strong russet tones . For an irregular mottled green jade ring see The Palace Museum (ed.), Compendium of Collections in the Palace Museum: Jade, vol.1, Neolithic Age, p. 57, no. 9; a black jade bracelet in ibid., p. 263, no. 265; another irregular jade bracelet in Hangzhou History Museum, Ancient Jade of Hangzhou, p. 59, no. 33; a similar Neolithic period bracelet in Rawson, Chinese Jade: From the Neolithic to the Qing, p. 147, no. 6:3; and a mottled green and russet jade bracelet of the same period in Fung (ed.), Exquisite Jade Carving, p. 155.
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Oil painting of a Young Woman
Artist: Huang (family name) China Qing dynasty (1644-1911) First half of the 19th century Oil paint on canvas in a wood frame Height: 58,4 cm Width: 43,2 cm Provenance: Kelton Foundation (inventory no. Ex.2000.2.111) Child’s Gallery, Boston, USA, (inventory no. 13140), circa. 1987 Price: 9.500 USD
Object Presented by: Alan Kennedy M.: + 1 646 753-4938 E: kennedyalan@hotmail.com W: www.alankennedyasianart.com
The luminous face of a young woman looks directly at the viewer, as her right hand fingers a few strands of her hair. Her light blue outer robe ( a changyi in Chinese) is patterned with barely visible floral motifs, as if the fabric is woven in a damask weave. Richly embroidered floral motifs appear at the sleeve ends of the robe, and also as edgings at the collar and bodice areas of her outer robe. Oil paintings that were made in China during the Qing dynasty are often considered to have been made for export to the West, however a painting such as this example would likely have appealed to a cosmopolitan Chinese male. Unlike traditional Chinese paintings in ink on paper or silk, this art work uses materials associated with Western painting, and employs painting techniques such as shading and perspective that create a three-dimensional effect. The painting is inscribed in Chinese characters, and has a red seal. It is unusual for such paintings to be signed and sealed with the name of an artist, as they were often unsigned works made in workshops in which one painter may have specialized in faces and hands, and another in the garments. As a category within the field of Chinese oil paintings, images of young women were unlikely to have been actual portraits, although, in that this painting is signed, rather than unsigned and anonymous, the subject could have been someone known to the artist.
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21
SNUFF BOTTLE
China 1750-1850 Amber Height: 2 7/8 in (7.3 cm) (excluding the stopper) Provenance: A private Californian Collection Price: 6.000 USD
Object Presented by: Clare Chu Asian Art LLC M.:+ 1.310.980.4084 E.: clarechuasianart@gmail.com
An amber snuff bottle, well-hollowed, of pebble form, the honey-brown material continuously carved with a pair of long-tailed birds, one perched in the branches of a prunus tree looking down at the other perched on a rock, beside a pine tree where an eagle looks down at a bear below. Much of the most highly-prized amber is transparent, in contrast to the very common cloudy amber and opaque amber. The main source of this type of amber known as ‘jinbo’ was Burma. The material is a beautiful color, and it can be held in the hand and appreciated for the tactile quality that amber has. Additionally, both the material and shape of the bottle work very well with the subject matter on this bottle.
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Jade highcollared bi-disc
China Shang dynasty 1600–1046 BCE Diameter: 10,5 cm Price on request
Object Presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com
An olive jade high-collared disc, bi , the collar projecting from the central aperture on each side, one side slightly shorter than the other, the softly polished stone with a creamy patch to one edge and deep russet striations For two examples of jade collared discs see Hansford, S. Howard, Chinese Carved Jades, figs. 9B, 9C; another in Hansford, S. Howard, Jade: Essence of Hills and Streams. The Von Oertzen Collection of Chinese and Indian Jades, p. 63, no. A103; an opaque white disc in Ip, Yee, Chinese Jade Carving, Hong Kong Museum of Art, p. 65, no. 31; two in Institute of Archaeology of the Chinese Academy of Social Sciences (ed.), The Jades from Yinxu, plate 6; a similarly coloured disc in Institute of Archaeology of the Chinese Academy of Social Sciences and Guangdong Museum (ed.), Jade from the Tomb of Fu Hao, p. 116, plate 1976AXTM5: 906 and another in the same publication, p. 271, plate 1976AXTM5: 487; a collared disc in Jenyns, Soame, Chinese Archaic Jades in the British Museum, plate IV; and a russet tone disc in Johnston, John and Lai-Pik Chan, 5,000 Years of Chinese Jade, p. 52, no. 17; a red jade disc in Rasti Chinese Art, October 2015: Works of Art, p. 13, no. 6; another buff jade disc in Salmony, Alfred, Chinese Jade Through the Wei Dynasty, plate VI-3, no. 4; one of similar colour in Teng, Shu-p’ing (ed.), Jingtian Gewu: Zhongguo Lidai Yuqi Daodu, p. 63, fig. 5–2–5; two discs in Chengdu Institute of Cultural Heritage and Archaeology (comp.), A 21st Century Discovery of Chinese Archaeology: The Jinsha Site, p. 61, plate 34; and a dark-green opaque jade disc in Rawson, Jessica, Chinese Jade from the Neolithic to the Qing, p. 166, no. 9:2.
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Ivory octagonal attachment
China Tang dynasty 618-907 Width: 7,3 cm Price on request
Object Presented by: Rasti Fine Art Ltd. M.:+852 2415 1888 E.: gallery@rastifineart.com W: www.rastifineart.com
An ivory attachment of rounded octagonal form, the top with remains of four claws and four serpent-form motifs enclosing a central circular aperture, the sides with a continuous band of lingzhi sprays above eight quadrants flanked by corners with circular panels pierced to fit a hole through the entire sections (possibly for a pin to fit through), each panel with six pin-holes for attachment within borders of further lingzhi sprays The attachment appears to be part of a larger object, possibly partially made of bronze. Each section is pierced through with holes leading to one another around the sides. An examination of the holes shows that at one stage the sections were held together by metal pins. The remains of claws at the top also indicate that there were one or more mythical creatures adjoining the sections to each another. The form is reminiscent of bronze attachments that appear for the corners of a larger object that slides into the apertures. Radiocarbon dating (RCD 14) report number RCD-6333 (25th May 2006) is consistent with the Tang dynasty dating. It has been dated with a 95 per cent confidence range of between cal 680 CE to cal 890 CE.
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SNUFF BOTTLE
China 1750-1820 Glass overlay Height: 2 1/8 in (5.4 cm) (excluding the stopper) Price: 6.500 USD
Object Presented by: Clare Chu Asian Art LLC M.:+ 1.310.980.4084 E.: clarechuasianart@gmail.com
A glass snuff bottle, of flattened, rounded form, carved using a ruby-red overlay over snowflake glass, one main side with the sun setting behind frothy waves, a bat swooping above, the reverse with a pair of cranes with rods in their beaks flying towards towering rocks rising from waves. Unlike glass snuff bottles produced in the palace workshops which tend to be classically formal, this example depicts a more naturalistic scene, yet it is rife with symbolism. It cleverly uses the vivid overlay color to dramatic effect, being highlighted against a snowflake ground. The more evolved design of the overlay carving suggests an eighteenth century date, and a workshop in Beijing, but outside the palace environs.
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SNUFF BOTTLE
China 1750-1800 Jade (nephrite) Height: 2 1/3 in (6 cm) (excluding the stopper) Provenance: A private French Collection Price on request
Object Presented by: Clare Chu Asian Art LLC M.:+ 1.310.980.4084 E.: clarechuasianart@gmail.com
A nephrite snuff bottle, well-hollowed, of white tone with a brown skin on both sides, carved as a bag tied with ribbons cascading down one side of the bottle, one main side carved with three bats forming a medallion, the reverse with a swooping bat carrying a flowering peony. The ‘tied bag’ form of this bottle and the evenness of the thick brown "skin" of the jade on one main side allows for a skillful depiction of an unusual scene, as the majority of bottles from this group depict a monkey climbing onto the ‘silk bag.’
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Length of chinese dress material
China 1760 Satin / silk Length: 14 m Price on request
Object Presented by: Brandt Asian Art M: +44 (0)7774 989 661 E: brandt@nildram.co.uk W: www.brandtasianart.com
An extremely rare mid 18th century hand painted length of satin / silk. Delicately painted in original vibrant colours with floral, leafy swags with deep pinks, purple & blue flowering buds and green leaves with gilded details. Imported to England from the workshops in Guangzhou for the British market, at the time this fabric would have been the height of fashion for dressmaking. Found in a Scottish estate as new condition, this bolt remained unused.
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Pair of Portraits
Inscribed on the rear: The Emperor and Empress of China painted by Youqua. China Circa 1850’s 26 cm x 21 cm Price on request
Object Presented by: Brandt Asian Art M: +44 (0)7774 989 661 E: brandt@nildram.co.uk W: www.brandtasianart.com
A very unusual pair of oval oils on canvas depicting a pair of dignitaries from the Imperial household. Exquisitely painted , wearing yellow and blue imperial silk dragon robes, mandarin necklaces and both holding jade ruyi scepters. In original gilt Chinese frames. Inscribed on the rear: The Emperor and Empress of China painted by Youqua. N.B: It is unusual to find this subject in oil on canvas.
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Copper Hand Warmer
China 18th century 14 cm x 14 cm x 10 cm Price on request
Object Presented by: Brandt Asian Art M: +44 (0)7774 989 661 E: brandt@nildram.co.uk W: www.brandtasianart.com
A good copper square formed warmer, the pierced lid with five bats surrounded by stylised lotus foliage. The body with a continuous geometric Buddhist design.
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Yama Dharmaraja
Sino-Tibet 18th-19th century Bronze 10 in. (25.4 cm.) Provenance: From the collection of the Swedish artist and designer, Wilhelm Kåge (1889-1960). From the Collection of the Krook Family. Price on request
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com
Striding in alidhasana on a buffalo over a prone human figure on a lotus base with his hands extended out to his sides, adorned with beaded jewelry, a garland of severed heads, the face ferocious with the mouth open and tongue extended, the flaming hair topped by a skull tiara, Yami astride his leg offering a skullcup in her left hand, wearing an animal skin on her back, her face with wrathful expression, a consecration chamber open on the verso of the primary figure, with traces of polychromy on the heads of both figures and the buffalo. Based on Pala period style bronze work, the deity on the present figure can be compared with an eighteenth century figure of Ekavira Bhairavajra, which displays similar modeling particularly of the head and jewelry (U. von Schroeder, Indo-Tibetan Bronzes, 1981, p.p.472-473, fig.130c). Compare the bull mount with a similarly rendered sow, see U. von Schroeder, uibid, p.p.488-489, fig. 138E. This beautifully cast figure features Yama Dharmaraja, striding in alidhasana on the back of a buffalo over a prone figure on a lotus base. Yama is adorned with beaded swags, trampling a bull who in turn is crushing a woman with a blissful expression upon her face. Yama’s right arm is raised holding the skull club, his left displaying karana mudra. He is draped with festoons, ribbons, and a garland of severed heads. Wrathful in appearance, he has the head of a bull, three round eyes, and sharp horns entwined with flame. His powerful torso is coiled with a snake and festoons interlinked through central chakras. The present example features original scrolls housed within the figure. Yama Dharmaraja, sometimes known as Kalarupa, is a wisdom deity protector of the father class of Anuttarayoga Tantra used by those who practiced Vajrabhairava tantras found in all the Sarma Schools. The Gelugpa tradition holds Yama Dharmaraja in a special regard as one of the three main Dharma protectors, with the others being Shadbhuja Mahakala and Vaishravana. A common misconception, Yama Dharmaraja is not the same being as Yama the ‘Lord of Death’ depicted as the central figure in Buddhist depictions of the hell realms, but instead is an incarnation of Manjushri who serves as the defeater of death.
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30 EWER
Nepal 18th century Brass Height: 34 cm Price: 2.500 euros
Object Presented by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
This beautiful Nepalese ewer is topped with a bird and features a spout with a makara head, a marine creature from Indian mythology. The Makara, always linked to water, is the vahana or vehicule of the goddess Ganga, but also of Varuna, god of the ocean.
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Wrathful Tantric deity, possibly wrathful form of Manjusri incorporating of Vajrahumkara
Tibet 9-10th century Gilt copper alloy with silver inlay Height: 19 cm Provenance: Nyingjei Lam collection Exhibition: “Casting the Divine: Sculptures of the Nyingjei Lam Collection” (03/03/1202/11/13) # 011 Ashmolean Museum, 1996–2005 Rubin Museum of Art, 2005-2018 Publication: D. Weldon and J. Casey, "The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection", 1999. p.90-91 L.2005.9.11 (HAR 68447) Price on request
Object Presented by: Hollywood Galleries M.: +852 2559 8688 +852 2541 6338 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
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Bodhisattva Akasagarbha
Tibet 12-13th century Silver with gilt copper alloy base Height: 24 cm Provenance: Nyingjei Lam collection Exhibition: “Casting the Divine: Sculptures of the Nyingjei Lam Collection” (03/03/1202/11/13) # 021 “The Nepalese Legacy in Tibetan Painting” (09/03/10 - 05/23/11) Ashmolean Museum, 1996–2005 Rubin Museum of Art, 2005-2018 Publication: D. Weldon and J. Casey, "The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection", 1999. pl. 15 L.2005.9.21 (HAR 68450) Price on request
Object Presented by: Hollywood Galleries M.: +852 2559 8688 +852 2541 6338 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
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